Between doing and not doing.
I endorse myself in a unbelieving reformulation of the fragmentary condition of the painting; Its compositional value-desired for the massive and indiscriminate use of the image-, the narration of its own materiality, have transformed it into a dislocated, ambiguous and unstable, aestheticist and sterile device.
Matter and color cannot resist transforming what I imagine, everything that no longer has another formal solution, what cannot be any other way: no more perfect, no more finished, no more defined.
An exceptional situation, a supervening reality, catalyzes attitudes of resistance towards a simple formalization, of close, ephemeral and casual materials. Art then tunes into resources of unreality or counter-reality, weak, transitory and expectant.
The possibilities for combining elements are multiple, the decision is only one, the effectiveness of reception or the aesthetic and conceptual success is random, despite the interest in establishing a goal of balance.
In recent times there have been momentarily points of distancing and at the same time of absolute closeness in the dynamics of the work, in which the precariousness or forgetfulness of the painting processes have been revealed as the only possible possibilities of the pictorial action.
Compose and occupy as an extension of the body and the place, the space that is filled with apparent fragments; Actually the layers of color and materials negate the composition of the image, they close the previous one and the effects of that closure are transformed into aesthetic bodies in themselves.
The application of a cumulative intuition, accepting it and not working against its appearance, gives the answer to the experience of the unfinished.
